Entertainment

By Prof. Abdalla Uba Adamu

They are both young boys, although one seems slightly older. From March to May 2025, they captured the attention and interests of Hausaphone social media with their radically different approaches to digital media visibility. In the process, they provided a template or script for the future of youth engagement in public culture and demonstrated the power of agency. 

Taranding in an open cesspool (Kabiru Isma’il, Kano).

The first was Kabiru Isma’il, better known as Kabeer2pac (apparently a fan of the late American rapper 2Pac Shakur).He had 1.8m followers and 15.1m likes on his TikTok account, which prominently displays his phone number (or that of his agent) for advertising purposes. His early videos clocked in millions of views. His most famous video, in which he shakes the dust off his body and jacket, has earned 51 million views. He devised two strategies to achieve this fame. 

His first videos were posted during the 2025 Ramadhan on 19 and 20th March 2025. In the videos, he was recorded immersed in a stagnant open cesspool of household wastewater (kwatami), dunking himself in it and smearing the sediments on his face. The videographer asked for his motives, and he replied he was doing so to “tarand” (trend) because he yearns for fame (ɗaukaka). He affirms he was not a lunatic. The video had 2.6 million views. He further explained that he resorted to this because his earlier attempts at trending were unsuccessful.

On 3rd April 2025, he switched from cesspool contents smearing to getting a sack of charcoal dust dumped on his head,which earned the video 14.8 million views. By then, his fame spread because the CoalDust video he posted two days later earned him 51 million views. His videos attracted Gwanki Travels and Tours International Ltd in Kaduna, who invited him and offered him a free ticket to perform the lesser Hajj, Umrah. Beaming with happiness, Kabeer2pac declared his gratitude that he had achieved the fame he had sought and had “taranded” very well. Of course, Gwanki also trended because they were riding on his coat-tail, as it were, to advertise their services.

Reactions to Kabeer2pac’s fame and fortune were varied but predictable. Most commentators were happy for him and took umbrage at any view that condemned his behaviour as unhealthy and unbecoming. Some Muslim clerics condemned him. Others were against the money spent on his Umrah, arguing that he was young and the money should be invested in either a trade or his education. His behaviour led to copycat copying. 

Quite soon after it started trending, copycats appeared in various guises, including a cesspool girl, from dousing themselves with petrol to set fire on themselves, to having cement blocks banged on their head, to immersing themselves in a stagnant pool of waste water. In one case, a young boy entered a soak away— all in their desire to “tarand” and possibly get a free Umrah ticket.

In an RFI video interview posted on 16th April 2025, Kabeer 2pac admitted that the possibility of his social media celebrity status is likely to be short-lived, as he understands that people will soon get bored with his antics and switch to something else. But for the period he was trending, he was happy with the endorsements he received and his branching out into comedies and short dancing skits in his trademark winter jacket. 

He has accurately anticipated the ephemeral nature of his antics. About two years ago, others who trended and quickly faded away were even more famous and established what I call “celebrification culture”. The first was Ale Rufa’i Bullgates, who devised his own currency, “Gangalion”. He was followed by Ale Umar Bush, whose speciality was foul-mouthing everyone around him. Each was given a social media celebrity status – private jets, fancy meals, endorsement deals by fancy local merchants. Ale Umar Bush seemed to have a Middle-Eastern “girlfriend”. People mocked their mental health and turned them into the theatre. That was probably why Kabeer2pac prefaced his first video by proclaiming that he was not mad. 

What motivates people to watch grisly events as lookie-loos, whether on screen or in physical spaces? Kabeer2pac’s audience can be called voyeuristic or spectator audiences. Odd or outlandish behaviour fascinates them because it provides novelty, entertainment, and sometimes a sense of shock or disbelief. Due to its unconventional nature, such content often triggers curiosity, amusement, or even a desire to share with others. 

Trending Young Dangote (Sadiq Usman Ahmed, Kurmin Mashi, Kaduna)

In contrast to Kabeer2pac, Sadiq was a street hawker in Kurmin Mashi, Kaduna, whom someone tagged Young Dangote. His nickname refers to the Hausa business mogul Aliko Dangote, the richest Black man in the world at the time. Anwar Textiles Ltd discovered him at a traffic stop in Kurmin Mashi, Kaduna, on 18th May 2025, when the young lad, who looks about 13 years old, was hawking car fresheners. 

Intrigued, the videographer asked how he started the business. Beaming an incredibly infectious smile (alone enough to make you buy his ware, even if you had no intention of doing so), he said he started with ₦300 with which he used to purchase cotton buds for ₦50 and sold for ₦70-₦100, before moving to products he bought for ₦350, selling at ₦500, happy with whatever profit he made. Gradually, his capital reached ₦5,000, then ₦1000, “har jari ya kai dubu hamsin cifi cif”/up to ₦50,000 neat. He said he prefers schooling to hawking, but poverty forced him into hawking. He relates this with a devastating, charming smile and enthusiasm for his current station in life, clearly with a business goal in mind. 

Touched by his resolve to improve his business, the video was posted on Anwar Textiles’ personal account and went viral. This impressed so many people (including the Pop Cola company in Kano) that they sent their widow’s mite to Anwar Textiles to improve the boy’s capital. Some asked for an account. In a very honourable way, Anwar Textiles traced the boy’s father. They recorded a video in which the father explained their happiness about the crowdsourcedfunding efforts made by Anwar Textiles. He emphasised that they were not begging for assistance as such (they were well off, but had a bad patch in life), but are grateful to those who contribute to the boy’s entrepreneurial ambitions. An account number was given. 

By 16th May 2025, Sadiq had over ₦300,000 capital and a larger basket to hold more products, which Anwar Textiles helped to purchase for him. The balance of the money was handed over to the father. He thanked Anwar Textiles for making it possible for people to know him. He displayed his new “mobile shop” and declared, “daga nan sai ƙasar waje, inshaa Allahu”/next, overseas, by God’s grace. He also stated his intention to go back to school soon. 

I find Anwar Textiles honourable. He located the boy, helped him, and supported his family. Importantly, he did not engage the boy in a gaudy marketing gimmick for his company, as done with Kabeer2pac. The boys’ marketing strategy was brilliant, as seen in a video posted a few days later in which he persuaded a motorist to buy more car fresheners than the customer actually intended to buy!

Both of these teenage boys demonstrate what personal resolve can achieve. Through social media, each person has attained something they wanted at the beginning of their lives. Kabeer2pac’s social media platform, which thrives on trends and viral content, where the unusual or unexpected can quickly gain traction through likes, shares, and comments, further amplifying its reach, worked perfectly well. He has the fame (ɗaukaka) he strives for. 

For Young Dangote, who has no social media presence (I even doubt if he has a phone, for he would probably plough the money into his business), we see what the power of crowdfunding and simple determination can do spontaneously. Comments from those who knew the family indicated that they were stable (as indeed even the father stated), but went through a bad patch. Instead of mourning their turbulent period, Sadiq dropped out of school, picked up a basket, got some money, bought car fresheners, and started hawking them at traffic stops. The rest, as they say, is a viral history. 

Social media can be a space for what Bala Muhammad (Adaidaita Sahu) at the DEEDS Book vs Screen May 2025 KHAIRUN Dialogue refers to as “digital iskanci”—or something else. Your judgment of each is, of course, personal.

By Muhammad Abubakar

In response to recent media reports suggesting a potential easing of Saudi Arabia’s longstanding alcohol prohibition, a senior Saudi official has categorically denied any plans to lift the ban.

Princess Haifa bint Mohammed Al Saud, the Assistant Minister of Tourism, addressed the issue during a panel session at the World Economic Forum in Davos. She emphasized that the Kingdom remains committed to its laws prohibiting alcohol consumption.

“The short answer is that we’re going to continue with our current laws,” she stated, highlighting that Saudi Arabia has successfully attracted tourists without altering its cultural and legal frameworks.

The clarification comes amid speculation fueled by the recent opening of a liquor store in Riyadh’s Diplomatic Quarter, exclusively serving non-Muslim diplomats. While this move marks a controlled exception, it does not indicate a broader policy shift regarding alcohol availability in the country.

Furthermore, Saudi officials have reiterated that the alcohol ban will remain during major upcoming events, including the 2034 FIFA World Cup. Prince Khalid bin Bandar Al Saud, the Saudi ambassador to the UK, confirmed that alcohol will not be available to fans during the tournament, aligning with the Kingdom’s cultural and religious values.

As Saudi Arabia continues its Vision 2030 initiative to diversify the economy and promote tourism, officials stress that modernization efforts will proceed without compromising core cultural principles.

By Muhammad Abubakar

Nigeria’s U20 national team, the Flying Eagles, secured third place at the AFCON U20 tournament after a tense victory in a penalty shootout against host nation Egypt.

The third-place playoff ended in a deadlock after regulation time, with both teams creating but failing to convert keychances. 

In the ensuing shootout, Nigeria maintained their composure and emerged victorious, silencing the home crowd and concluding their campaign on a high note.

Head coach Aliyu Zubairu praised his players for their determination and mental toughness throughout the match. “Beating the hosts in front of their fans, and doing so under the pressure of a shootout, speaks volumes about the character of this team,” he said.

South Africa went on to win the tournament, claiming the championship after an impressive performance in the finalagainst Morocco.

The AFCONU20 tournament showcased elite youth teams from across the continent, providing a platform for emerging talent and fierce competition.

By Ibrahim Yunusa

Real Madrid C.F. and AFC Bournemouth have reached an agreement for the transfer of Spanish international Dean Huijsen.

The 20-year-old defender will join Los Blancos on a five-year deal, running from June 1, 2025, to June 30, 2030.

The signing comes in response to a series of injuries that have plagued Real Madrid’s backline during the 2024/2025 season.

The crisis has even forced defensive midfielder Aurélien Tchouaméni to fill in as a center-back in multiple matches.

Despite his young age, Huijsen has already built an impressive résumé.

He has featured in Italy’s Serie A with Juventus and Roma, and most recently in the English Premier League with Bournemouth.

His performances have earned him a nomination for the 2024–2025 Premier League Young Player of the Year award.

Real Madrid’s acquisition of Huijsen is seen as a strategic move to reinforce the team’s defensive depth with a promising talent poised for long-term success.

By Maryam Ahmad

Nigerian musicians earned over ₦58 billion from Spotify in 2024, more than double the amount paid in 2023. This marks a significant rise in global interest in Nigerian music, particularly Afrobeats.

According to Spotify, over 1,900 Nigerian artists were added to editorial playlists in 2024, and Nigerian music was streamed globally for more than 1.1 million hours. Listeners also created around 250 million playlists featuring Nigerian artists.

Spotify’s Sub-Saharan Africa director, Jocelyne Muhutu-Remy, said the platform remains committed to helping Nigerian artists grow and earn from their work.

By Haroon Aremu

Like a sly jester winking at the moon, I was scrolling through social media when I encountered celebrity interviews recounting how they rake in millions within months. This spectacle ignited a contagious fervour among the youth, convincing them that the entertainment industry is the sole avenue to instant riches. 

No one talks about the failures, the countless auditions, or the silent struggles behind the scenes; they only talk about the glamour, the wealth, and the “soft life.”  

Bollywood thrives on strategic government investment, making it a global economic force that boosts employment, tourism, and digital expansion. Unlike Nigeria’s self-funded entertainment sector, India injects billions into its film industry, ensuring sustained growth and international reach.  

Beyond captivating audiences, it turns filming locations into major tourist attractions, employs millions across various roles, and operates as a well-structured economic engine that drives cultural and financial influence.

Bollywood wields significant soft power, shaping international perceptions, fostering trade partnerships, and influencing policy discussions on a global scale. Now, the burning question is If India has done it, why can’t Nigeria?

President Bola Ahmed Tinubu and the Nigerian leadership stand on a promising foundation. Nollywood is already the second-largest film industry globally, built almost entirely on private effort. With champions like Kunle Afolayan, Femi Adebayo, Funke Akindele, Toyin Abraham and others reshaping narratives and cashing in on global platforms like Netflix, Prime Video and Box Office. 

It is clear that Nollywood is not just an entertainment industry—it is an untapped goldmine. The cinematic feats of Kemi Adetiba, Mo Abudu, Bolanle Austen-Peters, etc., prove that, with proper government investment, Nollywood could evolve from a privately managed giant into a fully empowered national asset.  

According to research, Nollywood generates over $590 million annually and produces around 2,500 films a year. It has managed to thrive despite a lack of properly structured federal support. 

Imagine if this industry received the same kind of backing Bollywood enjoys. Free from corruption, federal investment could elevate production quality, generate millions of jobs, and turn Nollywood into Nigeria’s foremost non-oil revenue, especially when youth yearn for employment due to unemployment being generic.

Content creation, beyond Nollywood, has emerged as a formidable economic engine in Nigeria, proving that digital storytelling is not just a fleeting trend but a viable sector capable of generating wealth, employment, and global recognition. 

The success of creators like Mr. Macaroni, Taooma, Kiekie, Sabinus, Lasisi Elenu, Cute Abiola, etc., illustrates how social media has democratised entertainment, allowing individuals to carve niches without relying on traditional gatekeepers like film studios or record labels. 

Through comedy skits, social commentary, and brand endorsements, these creators have transformed their craft into multi-million naira enterprises, employing scriptwriters, videographers, editors, and marketers while driving traffic to brands and tourism sites. 

Their work showcases Nigeria’s culture and humour on the global stage, attracting foreign partnerships and sponsorships that would have otherwise been reserved for mainstream Nollywood productions. 

When properly harnessed, digital content creation can become a major economic driver, like Bollywood’s integration of influencers and digital expansion into film, tourism, and commerce. With the right policies—such as tax breaks, structured funding, and intellectual property protection—Nigeria’s content industry could grow into a leading non-oil revenue stream, competing with global giants like India and the United States. 

Despite its promise, the content creation industry in Nigeria still grapples with fundamental challenges that could hinder its full potential. Unlike Bollywood, which benefits from government-backed investment and structured growth strategies, Nigerian content creators operate in a largely informal economy, where access to funding, infrastructure, and legal protections remains inadequate.

Some creators lack financial literacy, face inconsistent brand deals, and operate without a regulatory framework that protects their intellectual property. 

Additionally, the absence of dedicated digital innovation hubs limits their ability to scale, collaborate, or transition from short-form content to full-length productions capable of breaking into mainstream cinema as some have done. 

While some content creators have managed to bridge the gap between skit-making and brand influence, an untapped market for leveraging content creation into mainstream entertainment and tourism remains. 

The government and private investors need to recognise digital storytelling as more than just “youthful amusement” but as a serious industry that, when properly structured, could create thousands of jobs, foster digital entrepreneurship, and export Nigerian creativity worldwide. 

Suppose Nigeria is to harness the creative economy truly. In that case, it must institutionalise financial incentives, support digital film villages, and encourage content creators to transition into high-value productions that can contribute to global streaming platforms, film festivals, and international collaborations.

Only then can the country move beyond isolated success stories to a full-fledged, structured entertainment ecosystem that mirrors Bollywood’s impact on India’s economy.

States like Lagos, Kwara and others have already positioned themselves as film hubs, investing in production studios, enabling policies, and film villages to attract investors. If these state-led initiatives can yield results, what would happen if Nigeria had a full-scale federal-backed Nollywood revolution? 

With well-structured grants, tax breaks, and infrastructure development, Nollywood could rival Hollywood and Bollywood, expanding tech-based employment and transforming Nigeria into Africa’s entertainment capital.  

Yet, a crucial caution must be heeded. Nollywood, like every thriving industry, has its fair share of pitfalls. The rise of viral sensations over genuine talent, the exploitation of controversies for social media relevance, and the blurred line between creativity and chaos all pose risks to the industry’s long-term sustainability. 

Nigeria must ensure that Nollywood does not fall victim to the same cycle of corruption that crippled agriculture and the oil sector.  

The truth remains: talent differs from cruise, and entertainment is bigger than scandal-driven fame. Nollywood has the potential to be a global force, a national pride, and an economic goldmine. 

The question is: Will Nigeria seize this opportunity or let Negligence and corruption again destroy another billion-dollar industry?

Haroon Aremu Abiodun, an author and PRNigeria fellow, wrote via exponentumera@gmail.com.

By Teco Benson, MFR

One of the most intellectually dishonest and damaging narratives in recent years is the partitioning of Nollywood into “Old” and “New.” It’s a simplistic label that started as a casual argument among a few younger practitioners but has unfortunately crept into academic discourse and mainstream industry conversations. This idea is not only divisive, but deeply offensive to the legacy of the industry and to those who built it from the ground up.

There is no such thing as Old Nollywood or New Nollywood. There is only Nollywood—a continuous, evolving industry built on layers of sweat, sacrifice, creativity, and resilience. What some choose to call “New” is not a replacement of the “Old”; it is a progression made possible because of the foundational work of the pioneers.

What many fail to understand is that our storytelling essence has not changed. The values, themes, cultural textures, and emotional core of Nollywood have remained consistent through the years. What has changed—and continues to change—is technology, and that is not unique to Nollywood; it’s a global phenomenon across all creative industries.

Even during the analogue years of Nollywood’s emergence, there were constant technological shifts. The iconic 1992 film Living in Bondage, which benchmarked the Nollywood movement, was shot on Super VHS. To improve quality, filmmakers soon transitioned to U-matic cameras and their full post-production systems. After that came Betacam, which was adopted for both shooting and editing. Then came MiniDV, followed by DVCAM—a digital video format that coincided with the arrival of non-linear editing.

This shift from linear to non-linear editing was revolutionary. It allowed filmmakers to use computers to seamlessly edit and manipulate captured footage—something unthinkable during the earlier years when it was strictly garbage in, garbage out. In those days, whatever was captured in-camera was exactly what the audience would see. There was no room for error. This forced cinematographers, sound recordists, and directors to train rigorously, work with precision, and strive for excellence at every stage of production.

From DVCAM, the industry moved to HDV (High Definition Video)—the final tape-based format—before embracing tapeless high-definition systems using memory cards. That ushered in a digital revolution, and Nollywood embraced it with open arms. Suddenly, filmmakers had tools to correct errors, grade visuals, enhance sound, and polish rough footage. As a result, even inexperienced filmmakers could produce glossy-looking films. But what this also meant was that those trained in the era of analogue discipline had a stronger professional foundation—having learned to get it right at the point of capture, rather than fixing it in post.

Today, technology continues to evolve—from 2K to 4K, 6K, 8K, 12K, and beyond. Tomorrow will bring even more shifts. But through it all, filmmaking has remained constant. The values, the voice, and the cultural richness of Nollywood have endured.

Another major transformation lies in distribution and audience reach. In the early days, Nollywood was feeding the Nigerian nation alone. Films were sold as physical cassettes and distributed within the country. Ironically, it was pirates—not formal distributors—who duplicated these tapes and spread Nollywood films across Africa, the Caribbean, and among global diaspora communities. This unintended export planted the seeds of the industry’s global influence.

Today, with the internet and streaming platforms, national borders no longer exist in the virtual world. Once a film is uploaded online, it instantly becomes global content. The filmmaker’s audience is no longer a town, a state, or a country—it is the world. And with that expanded reach comes intentionality. Scripts are now written with global standards in mind, stories are told with international audiences considered, and production decisions are made to meet the expectations of a diverse, global viewer base.

These changes are natural. They are part of the organic evolution of any thriving creative ecosystem. It doesn’t make the early days “old” or “outdated.” It doesn’t elevate the present generation above those who came before. If anything, it emphasises the need for continuity, respect, and intergenerational collaboration.

To classify pioneers as “Old Nollywood” is to ignore their innovations and the fierce battles they fought to establish the industry in the first place. It is to forget that there was once a time when there was no Nollywood—only brave individuals daring to tell African stories using whatever tools they could afford. They didn’t wait for validation. They created a movement.

What exists today—the funding, the streaming platforms, the global attention—was made possible because a group of passionate dreamers picked up VHS cameras and believed their stories were worth telling.

This is why the “Old vs. New Nollywood” narrative must be retired. It is reductionist, divisive, and counterproductive. Every generation has its own tools, challenges, and breakthroughs. But the spirit of storytelling, the soul of our culture, and the purpose of our cinema remain the same.

Let’s stop building walls within the house we all call home. Nollywood is one—past, present, and future.

Teco Benson, MFR, is a veteran film director, industry pioneer and cultural commentator.

‎By Abdulhakeem Yetu Zakari

‎Despite growing awareness, sexual exploitation continues to cast a dark shadow over the entertainment industry in Nigeria and elsewhere. Behind the glitz and glamour, many aspiring talents face coercion, harassment, and abuse in their pursuit of success. Stronger policies, accountability, and systemic change are urgently needed to create a safer industry.

‎Sexual exploitation in entertainment is an open secret that has persisted for decades. It manifests in various forms, from coercion and harassment to outright trafficking. Vulnerable individuals, often young and inexperienced, are preyed upon by those in positions of power. The “sex-for-role” culture, in which opportunities are exchanged for sexual favors, remains alarmingly prevalent. Those who resist or speak out risk being blacklisted, experiencing retaliation, or even being driven out of the industry entirely.

‎The entertainment world thrives on connections, and unfortunately, this has allowed predators to operate with impunity. Victims, fearing career sabotage or public shaming, often remain silent. The imbalance of power between industry gatekeepers and struggling artists makes it even harder to challenge abusive behaviours.

‎The #MeToo movement, which gained global traction in 2017, was a watershed moment. Survivors courageously came forward, exposing influential figures like Harvey Weinstein and forcing the industry to confront its deep-seated issues. This sparked widespread discussions, policy changes, and an increased demand for accountability.‎

Despite the above strides, exploitation remains a pressing issue. While some perpetrators have been held accountable, many still evade justice. Survivors continue to face obstacles in their pursuit of legal recourse, with cases often dismissed or settlements used to silence victims.

‎Ending sexual exploitation in entertainment requires more than just conversations, it demands concrete action:

‎Stronger Legal Frameworks – Governments and industry regulators must enforce stricter policies against workplace harassment and sexual exploitation. Clear legal consequences should deter potential offenders.

‎Whistleblower Protection – Survivors and witnesses should be able to report abuse without fear of retaliation. Anonymous reporting systems and legal safeguards are crucial.

‎Industry Accountability – Entertainment companies must adopt zero-tolerance policies for misconduct, conduct thorough background checks, and establish independent oversight committees to investigate allegations.

‎Empowering Victims – Access to legal aid, mental health support, and career counselling can help survivors rebuild their lives. Platforms that amplify their voices must be encouraged.

‎Changing the Culture – Education on consent, power dynamics, and ethical professional relationships should be integrated into industry training programs. A shift in mindset is necessary to dismantle the normalisation of abuse.

‎ The fight against sexual exploitation in entertainment is far from over. Every stakeholder, from industry executives to audiences, plays a role in demanding transparency, justice, and respect for all talents. Only through sustained pressure and institutional reform can we ensure an industry where success is based on talent, not exploitation.

‎It is not just a matter of morality but of fundamental human rights. The time to act is now.

‎Abdulhakeem Yetu Zakari is an intern with PRNigeria. He can be reached via abdulhakeemzakari7@gmail.com.

By Muhammad Abubakar

French football star Kylian Mbappé has taken legal steps to recover €55 million ($62 million) he claims is owed to him by his former club, Paris Saint-Germain (PSG).

According to sources close to the striker, the sum represents unpaid wages between April and June 2024, following his agreement to join Spanish giants Real Madrid on a free transfer.

Mbappé’s lawyers have reportedly been instructed to pursue the matter, insisting that PSG withheld the payments in response to his decision to leave the club after seven years.

Paris Saint-Germain, however, has denied the allegations, maintaining that all financial obligations were met in accordance with the player’s contract.

The dispute adds a new chapter to the already dramatic departure of one of football’s most marketable talents from the Parc des Princes.

By Sani Mu’azu

Inna lillahi wa inna ilaihir rajiun.

It is with a heavy heart that I mourn the passing of my dear elder colleague, friend, and legendary actor Abdu Kano, famously known as Karkuzu.

I had the privilege of knowing Karkuzu for over 40 years, and I can confidently attest that he was an exceptional talent who left an indelible mark on the Nigerian film industry. His versatility as an actor was unmatched, effortlessly transitioning between comedic and serious roles with ease.

One of my most cherished memories of working with Karkuzu was on the hit Radio Drama, Karambana – a dawo lafiya. Paired alongside the iconic Kasimu Yero and the legendary Hausa Pop Singer Sani Dan Indo, Karkuzu, who played the role of Liba, brought his unique energy to the project, which became an instant sensation among truck drivers and freelance workers. Before then and even after, we worked together on several film projects, including the early version of the movie Amina, where he played the role of Sankira along with Pete Edochie, shot around 1998.

What struck me most about Karkuzu was his resilience and dedication to his craft. Despite facing numerous life challenges, including health issues, he continued to act well into his old age, inspiring countless young actors and actresses along the way.

As we bid farewell to this Nigerian film icon, I pray that Allah SWT grants his soul eternal rest in Jannat Firdausi. May his family, friends, and the entire Nigerian film industry find the strength and fortitude to bear this immense loss. Ameen.

Rest in peace, Mallam Karkuzu. Your legacy will live on through the countless lives you touched and the unforgettable characters you brought to life.